Dibujo titulada "Landscape" por David Boyd, Obra de arte original, Grafito

Landscape (2019) Dibujo por David Boyd

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Láminas artísticas

29,86 US$

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49,13 US$

Impresión sobre metal

102,64 US$

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Vendido por David Boyd

Obra de arte original (One Of A Kind) Dibujo, Grafito en Papel

Clasificación de obras de arte

Trabajo único (OOAK / Obra de arte original)

Las obras de arte únicas también se conocen como arte “OOAK”. Es una abreviación en inglés que significa que cada obra de arte es única y que nunca habrá otra idéntica.
Dimensiones Altura 16,5in, Anchura 23,5in
Estado de la obra de arte La obra de arte está en perfectas condiciones
Enmarcado Esta obra de arte no está enmarcada.
Categorías Geométrico Arquitectura

This drawing, titled “Landscape”, is part of a series of drawings called, ‘The Autonomous’. It is a study into the philosophical processes inherent in the illogical and Pataphysical imagining of architectural fragments that sit within tightly constrained, enclosed ocular conditions. In doing so the work places moments of architectural imaginaries within a place of conceptual and visual autonomy.

The piece was drawn in pencil on a traditional architectural drawing board, employing an experimental approach that is inspired the conceptual philosophies of Dadaism, Constructivism, and Pataphysics. Within this approach, each drawing is a result of an unplanned process of drawing, with no preconceived end point in mind. In doing so, the work navigates itself into a position of resistance against the contemporary, digitally quantifiable modes of production that are found within the current architectural profession. The internal logics and rationales that lie within each drawing develop and establish themselves while the drawing is being constructed, through a slow process of spatial, formal, and compositional negotiation. It is produced with a desire to create projections that question the notion of interpretation and readability in architectural drawing. It establishes an ocular field within which it requires the viewer to, firstly, orientate themselves within the composition, and, secondly, to spatially explore the series of vectors establishing and constructing an architectural imaginary from one’s own interpretative sub-conscious.

The end point may result in an abstract visual archive of architectural thinking, whilst others may manifest into far more literal projections of a possible architecture. There is always an instinctive catalyst for a drawing, but never an aim.

Thanks for reading. If you have any questions about the work, please don not hesitate to get contact me.

All the best,
David

Acerca de esta obra de arte: Clasificación, Técnicas & Estilos

Grafito

Dibujo en blanco y negro hecho con un lápiz, un instrumento hecho de un pequeño palo de madera utilizado como vaina para una mina de grafito de la misma longitud.

Técnica Dibujo

El dibujo es una técnica de representación visual sobre un soporte plano. El término "dibujar" designa tanto la acción de dibujar, el trabajo gráfico resultante como la forma de cualquier objeto. También es una representación en una superficie de la forma (y posiblemente los valores de luz y sombra) de un objeto o figura, en lugar de su color. Existe una gran cantidad de técnicas de dibujo: el “dibujo lineal” representa los objetos por sus contornos, bordes y algunas líneas características; más allá de este límite, el dibujo se desarrolla representando el volumen mediante sombras, muchas veces mediante rayado, incorpora colores y une, sin transición clara, la pintura.

Temas relacionados

Architectural Drawing Axonometric Hand Drawing Minimalist Geometric

David Boyd

Reino Unido

Hi, I'm David Boyd and I’m an artist, teacher, and trained architect based in Newcastle Upon Tyne, UK. My work explores the relationships and tensions that lie between architectural drawing and fine art[...]

All of my drawings are hand drawn using a traditional A1 architectural drawing board, using pen, pencil, and adjustable set square. They are produced employing an approach inspired by the philosophical notions of Dadaism, Constructivism, and Pataphysics. With this approach, each drawing is a result of an unplanned process, with no preconceived end point in mind. The logic and rationale for each drawing is developed and established while the drawing is being constructed, through a slow process of spatial, formal, and compositional negotiation. The end point may result in an abstract visual archive of architectural thinking, whilst others may manifest into far more literal projections of a possible architecture. There is always a reason for a drawing, but never an aim.
The passion that drives my work is the desire to explore and create projections which question the notion of interpretation and readability in architectural drawing. I aim to create work which requires the viewer to, firstly, orientate themselves within the composition, and, secondly, to spatially explore the series of vectors and forms. The drawings are an offering to the viewer for them to inhabit and contextualise for themselves, constructing an architectural imaginary from one’s own interpretative sub-conscious

MY TRAINING

During the time I was studying for my fine art degree, from which I graduated in 2006, I developed a passion for Constructivist art, with a particular interest in Kazimir Malevich and his Suprematist / Architekton studies. My interest in such work inspired me to then pursue architecture, and, in 2010, I began the long process of studying to become an architect, graduating in 2018.
I have previously practised architecture in Bristol, UK, and, currently, teach as an architectural design tutor on the Masters in Architecture programme at Newcastle University. Alongside this, I am also studying for a PhD, which scrutinises the philosophical roles and mechanisms of architectural representation within the context of the ocular methods of hand drawn parallel projection.